Fabriano Tiziano coloured sheets Α3,160gr

This paper is produced with a high cotton content and pure ECF cellulose, according to ISO 9706 'LONG LIFE' regulations. It is acid free to guarantee long permanence in time. It has highly lightfast colours, an excellent surface making and sizing which make this paper particularly suitable for pastels, pencil, graphite, charcoal, tempera, air brush and watercolour techniques. Tiziano can be used for all printing techniques. Dimensions 21 X 29,7cm.

Coloured paper with a marbled effect. Manufactured with ECF cellulose. Ideal for drawing, calligraphy and decoration.

The artistic Renesans dry pastels are still subject to manual production. They are dried in a fully natural way and apply top quality raw materials, including kaolin extracted in Poland, and the best dry pigments. Pastel painting sees use of dry colourful chalklike sticks, without any liquid painting agents, which are applied onto a rough surface. Pastels are composed of painting pigments with chalk, clay, or plaster for binding, which provides a soft, smooth, and easily dusting stroke. A properly created pastel offers freshness, smoothly penetrating colours, no gloss, and bright surface. Each colour is applied individually, which makes it important to have an appropriately wide colour range. Preservation of the dust falling off the surface is possible with a special fixative or a glass frame with passe-partout, which isolates paper from glass. The product range is available in 119 colours of Renesans dry pastels individually or in sets of 12, 24, 36, 48, and 99 colours.

In order to achieve the highest standard regarding lightfastness, resolubility and stability, Schmincke's HORADAM® use the best raw materials available. There is no compromise in quality - the highest standards of artists' pigments allow the highest level of lightfastness. Schmincke's HORADAM® binding medium is Kordofan Gum Arabic from the Sahara region, due to it differing from year to year it is tested and the best of the batch is selected to used with their pigments. They use an optimal amount of oxgall to avoid undesired coloured formations and undissolved pigment, allowing the perfect flow of colour.